(seen at the performance on 27th February 2024)
Not, as expected, the story of a paedophile DJ’s hairdresser... though frankly Doctor Bartolo is a pervert anyway, lusting after his young ward in unseemly fashion.
Anyhow, another venture into opera for the monkey, it’s second “classic,” with one more booked later in the year.
This one, everyone knows Figaro’s name from “Bohemian Rhapsody.” He’s a barber and in his opening aria (that’s what they call a big solo number in opera – posh, eh?) he tells us how he “fixes” anything for anyone, to applause and cries of “Bravo.” Charles Rice never lets up on the comedy – and seems to enjoy spending time in kitchen cabinets too.
His latest “fix it” (sorry, couldn’t resist – you are fired, monkey editor) is for Count Almaviva (Innocent Masuku) to marry Rosina (Anna Devin). Problem being, Rosina is shut up in the house of her guardian Doctor Bartolo (Simon Bailey), who wants her himself.
Obviously, disguises are the way forward, and if that of a student doesn’t work, a soldier just might. Or a music teacher, that’s a good one. Throw in some epistle juggling from an era where you could rely on the mail to arrive (and could afford to mess about sending letters) and we are receiving a look at the very birth of modern comedy from panto to sitcom.
As the monkey has discovered about opera, the funny lines are repeated until they wear thin, and it takes a skilled director to find a way to keep the laughs coming. 40 years ago, Jonathan Miller did that, and Peter Relton carries on his fine work.
The timing is immaculate, the wordplay and pratfalls landing – Mr Bailey gives a particularly physical performance.
Tanya McCallin’s simple street set slides back to allow Bartolo’s home to slide forward for much of the action to be played there. With simple lighting by Marc Rosette (building on Tom Mannings original work) an Italian pale glow suits the atmosphere and allows the comedy to play without visual distraction.
Anna Devin sent an apology before the performance began that she was suffering from a cold. Truthfully, the monkey doubts anybody noticed. Her voice soared, her amusement and frustrations always clear and played with energy.
While Mr Rice is set up to steal the show, he faces stiff competition from Mr Masuku and Mr Bailey. An amusing quartet, particularly when avoiding scarlet fever behind a towel (see the show).
A little note too for Lesley Garrett as cynical housekeeper Berta, delivering a blistering act two commentary on the whole situation. Alastair Miles as Don Basilio likewise makes as much impact as his headgear slithering around the Bartolo household.
Polished and mostly quick-moving, it is clear why this is one of the most remembered and revived of all operas.
For the newcoming monkey, it admits it rather preferred something darker as a tale, crashing grandeur rather than constant light amusement. Not a commentary at all on the performances, just an observation it is deducing from its series of explorations.
It would also have appreciated consistent surtitles – at this performance they were intermittent and not always present when needed most; but that is literally a technical details.
Either way, it will never get a haircut again without wondering just what else might be going on behind the wigs.
4 stars.